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As some of us are want to do, we wax poetic about older technology, (I guess we're entering the phase wherein old gear gets us misty eyed) I submit a quick video I shot 9 years ago on a XH-A1. Anyone else have stuff from a decade past that you still like to watch and like to share?

I see a lot of you have been taken in by this guy. It's sad. Thread closed.

To recap: - A guy says that from 7 months he shoots NX1 Raw video with his Hack. - the guy in question in these 7 months has never published a video shot in Raw on Youtube or Vimeo... - at some point he declares that he will give proof of his statements, but not before the day "April 1" because he is German and has too many commitments with study, but he loses more time to answer many messages in English better than mine, rather that upload dng file he has on his computer for 7 months. - after 2 improvable jpg images published, I ask to block the charlatan but I am called a cyberbully. - the guy responds to my provocation and declares that he will publish the evidence to show that I'm wrong. - no proof is published. - I raise the stakes and I promise a NXL as a gift in exchange for irrefutable proof. - the guy reappears and promises again that he will publish the tests after 24 hours.- - for the second time no proof is published. - in the private mail of the owner of the site arrives an email that promises again that will send evidence but that for 3 days without explaining why he can not respond to messages (no smartphone in the pocket of an experienced programmer?). - the owner declares to block the guy from the playful and disrespectful behavior of the common sense and the rules of the forum. - during all this time, a man with a cat on his back, one with a horse face, a man with a name like tax code and some other poor naive attacked me and defended the guy from the many promises but from the no proof and no tests and pray desperately the owner of the site to wait to receive a file full of shit for 1 April breakfast!

I really think since the GH5s has come out, I think Panasonic has thrown down the gauntlet to say on paper there really is not a need for a Sony FS5, hell even the EVA1, Arri Micro, etc. in a sense. If Panny added a few more features, ND filters, Raw what else on paper do you need on a small form factor camera? And with a SB on the GH5s you are past the s35 size. The GH series has a big enough body to support Raw, ND, well not sure about that. I think the trend is going Really small instead of sort of small like a FS5, etc. And I think it is driven more by Gimbals and Drones to be honest. The days of Having to Have a 20 pound camera are over. I admit by the time you rig out a small camera it looks like Frankenstein, but so does a Arri Alexa in full shooting trim.

Shouldnt this thread be closed?

This was shot entirely on the pocket.

Exactly... I'm not letting this fly. He is not getting the attention he is seeking, off my back, that's for sure. And I know 100% it is bullshit, and if by any chance it isn't, he's free to post the raw recording mod / firmware binaries anywhere he likes on the internet.

Yet more shite footage. Wait for mine instead

Here's a little update Andrew from SLR Magic has allowed me to share. I want to share as much as I can remember from my phone call with Andrew so hopefully it's relevant to those of you who are interested in these lenses. For anyone going to NAB, Andrew will have a booth and will be there. I invite anyone interested in these lenses to go see them. Andrew is a very knowledgeable and open guy and he really love to talk lenses. He cares about his products and making them the best they can be. They have some pretty cool announcements for NAB, whcih I won't share, but he's what I can... Here's a picture of a pre-production 32mm lens. www.flickr.com/photos/johnbrawley/40047075535 I haven't shot with this copy yet, but this means SLR Magic are very close to going into production with this lens. I imagine he'll announce shipping at NAB. After this they're working on the 18mm and the 135mm to fill out the set. I also received an updated version of the 25mm to replace my copy. It developed an issue with the focus bumping sometimes at close focus and Andrew tells me he's totally updated the helicoil design and has already updated a few customers copies. Anyone who sees this issue should be able to arrange to have it fixed. I didn't want to let go of my 25mm as I was in the middle of a job so he's sent me a second one and I'm now sending mine back. What's cool is that SLR Magic went and immediately addressed the issue and have re-designed the lens to make sure it doesn't happen again. I've just finished a 6 month TV series using them day in and day out and this has been the only issue with them, even though they've been on prestons / motors with clamp on's all this time. I recently did a blind comparison between Zeiss CP2's, Panavision Primos and SLR Magic APO primes. See if you can see which is which here. Don't read the description if you want to try and guess which you like most. After that are some clips from a series I did which are all SLR Magic APO prime shots. https://youtu.be/s6fFUCSZzOg (everything except super macro shots which were Cp2 50mm macro) www.flickr.com/photos/johnbrawley/40047076045 Andrew also sent me copies of their new E mount, MFT and EF adaptors. www.flickr.com/photos/johnbrawley/40941422171 www.flickr.com/photos/johnbrawley/40047075035 This means you can use your APO primes on any of the above mounts and with the SLR Magic adaptors they've kept the tolerances very tight so the witness marks should line up perfectly without having to actually re-shim the mounts / lenses, though you can do that if you need to. As a bit of a surprise, Andrew also sent me some brand new ND filters that he's been working on. Many would already be familiar with the Variable ND's they make, which many rate as one of the best made and offering very good IR protection as well. Some of you may know I shoot a lot of MFT lenses on Olympus, DJI and Blackmagic MFT cameras so I use a lot of smaller lenses with screw in ND's. Lately I've mostly been using the Hoya / Kenko PRO screw in ND's as they seem the most neutral. Andrew tells me he decided to make these after he decided to buy some Hoya Pros for his own work and was firstly forced to buy them from three different countries because no one stocked the full set and he THEN found that the deeper stop copies had more than 2/3 of a stop variation in exposure from where they should be. Well SLR Magic have done their own take on ND filters. They've aimed to be less than 1/3 of a stop variation and to sell them together as full sets. They make a set of N3, N6, N9, N1.2 and N1.5 (1-5 stops) and a second box of N1.8, N2.1, N2.4, N2.7 and N3.0 (6-10 stops) and each set is only $399. Pretty decent deal. I don't want to come off as a shrill, but I really like what these guys are doing and I especially like how responsive they are to feedback from us that use these lenses. In lieu of them having better marketing I'll try to let as many know as I can about what they're up to. JB

Here's a bit of a review after using the X-H1 for about two weeks, both in a hobbyist/family setting and in my more professional workflow (video production is part of what I do for a living). As a caveat, I wouldn't consider myself a pro video guy, though. I'm a hobbyist who turned video into part of my full-time income. I started a company called 'Worship Tutorials', and a youtube channel is a big part of it - I do a lot of video work (probably 3-6 uploads a week to YouTube), so while I'm not doing work for clients, and I don't have a pro background, video quality is important to me. I also realize that the limitations I encounter are almost purely coming from me, not the gear. Background I've been using Sony bodies for about the past 2 years. Before that, I used Blackmagic stuff - Studio 4k bodies, and then an Ursa Mini 4.6k. That was overkill. My church used to use those, and I loved what they could do, but the workflow for me (working on my own pushing out that many videos) just wasn't good. So I sold all of it and jumped to Sony. First with an a7S ii, then the a7R ii (as a 2nd body), then I sold both of those and went with an a9 + a6500. The colors on the a9 are far, far better than the previous gen. a7 stuff. My frustration with Sony is color. And it's a huge deal to me - I believe color is one of the primary emotional pieces of video. And I hate the way Sony handles color. I do realize, though, that the IQ is there - plenty of people create beautiful work with Sony a7-series bodies, and I finally got good enough in post to make stuff that I thought looked great. But it's always a struggle for me - I feel like I'm always fighting for the colors I want. Then I started reading about the X-T2. So I rented (and then purchased) an X-T2, and honestly I loved it. I loved the handling, the physical controls, and especially the colors. Even still images in Lightroom were easier to get what I wanted (with the Sony raw images, I still felt like I was forever fiddling to get the colors I wanted). In video the image was just more pleasing to me. But it lacked things I really wanted - 120p slow motion, IBIS, smooth gradients from different light sources when ISO was set to auto, better auto-focus, etc. The Sony system was just better spec'd. Plus by this time I had invested in the 24-70 G-Master and the 70-200 G-Master lenses from Sony. These lenses are incredibly good. I returned the Fuji, but I've missed it. So another year of fighting with Sony footage, and then X-H1 is released. Again I rented one, and now I've purchased one (along with the 16-55 f/2.8). Several of the key features I wanted have been implemented - IBIS, high frame rate, etc. But to me, again, the killer feature is color, and with the introduction of Eterna, Fuji's color superiority is even better. Pros/Cons - Fuji vs Sony Over the past two weeks, I've shot a lot of video and stills side-by-side with my a9. Here are a list of thoughts... Auto-focus: The a9 (and presumably the a7 iii) is better with AF. Much better. But honestly the Fuji isn't bad, and it's good enough for what I do. This may be a make/break feature for some, though. High frame rate recording: Sony is better here again - the 120 and 60p footage is cleaner. But I've shot a lot of it with the X-H1, and it's certainly not bad. If you avoid things that you know are going to give you aliasing and moire problems, you'll be fine. For me, it will work. Dynamic range: Again, the nod goes to Sony, but it's very close. Especially if you use the 200 and 400% settings on the X-H1. Low Light: Sony wins here. Full frame, plus their magic with high ISO is hard to beat - honestly does anybody beat them? The X-H1 is acceptable, though. Honestly at 10,000 ISO it's a pretty useable image. We are spoiled with ISO performance. Five years ago (and especially 10 years ago), ISO 3200 was the top you could go, and many cameras looked like crap there. IBIS: Fuji is better in my opinion. Handling/ergonomics: I like the Fuji better - a lot. One thing I do like about the Sony cameras is the ability to set up custom presets for 4k 24p, 60p, and 120p (that's how I set mine up, anyway), and be able to instantly recall shutter speed, frame rate, and aperture in one move. On the X-H1, it's a 3 step process, although it's very fast after some practice. Lenses: Tie (but not if you consider how much they cost). The G-Master lenses I have are awesome. But they are very expensive, and big/heavy. Fuji lenses are very good and very affordable. And finally, the most important things - for me, personally... Image Quality: Fuji, by a lot. Now I agree with Tony Northrup's assessment of the 2x IQ thing, regarding stops. I get that technically, the Sony sensor is able to resolve more light, etc. I get that I can shoot at lower ISO's with the Sony, so from a noise-perspective it's cleaner. But when I look at footage shot side-by-side from both cameras, I pick the Fuji every single time. Especially when shooting with Eterna. It's not even close. Workflow: Fuji wins. Because the image is so much better out of the camera - for my tastes - the workflow is much faster. And at the rate that I make videos for my business (as well as candid home videos of family, etc), it makes an enormous difference for me. Even things like render times are way faster, because I'm doing much less manipulation to the image. Emotional impact: Fuji wins. I love using the Fuji system more. Because of my experience with the X-T2, I think I can say it's not a honeymoon thing, too. Although the a9 is a ridiculously awesome camera to use. I really do love it. The other emotional impact thing is the image quality - and I think the fuji wins here, too - because of color. Final thoughts The 'best camera' doesn't exist. Some are better technically than others, some produce a certain look that users may or may not want. Some lack features or have an abundance of features, but honestly the quality of work that is produced is going to lie with the person creating the work. These days cameras are so good that I don't think it matters what brand or model you use. The Sony stuff (especially the current gen stuff like the a9, a7R iii, a7 iii) is better on paper than the X-H1. There's no question. Is it better in actual use? Depends on who's using it. Personally, I think I could create the same quality work with either system, but I'm convinced the X-H1 will get me to the end goal faster. For you, it may be the other way around. Finally, I think the internet can be a toxic place for people who are looking to buy gear. People come into these discussion with biases, or they are far more concerned with spec's on paper than anything else. Personally, I'm actually kind of upset at myself for even considering switching from my Sony gear to Fuji - at some point I/we just need to ignore all the hype with new stuff and just make content - and get better at using the gear we have. Having said that, I'm probably going to sell all my Sony stuff and invest in Fuji, although I still have about two weeks where I can return the Fuji and keep my Sony gear. Sample Work Here's a video I just produced using the X-H1. I did about 6 takes of this song from different angles (which is why I need at least two cameras for what I do - three would be better). Edited/graded in Resolve. I shot it in Eterna, and honestly I did very little to the image. Just a tweak with white balance and contrast/saturation to taste. With my Sony cameras, this would have required 4-5 nodes using a LUT, color manipulation to lows/mids/highs, skin tone isolation/correction, etc. Another video I made with the X-H1, more heavily graded: Here's a very similar project (to the first one) using the Sony a9 and the a6500 together: It's a bit different look, and I like it. But it took a lot to get there. Here's a video I shot with the X-H1 - again using Eterna, and graded in Resolve: And another with the a9, also graded in Resolve: I know there are lots of people probably trying to decide between the X-H1 and the a7iii. I'm one of them, so hopefully my experience can help you make that decision.

Soon; I have a lot of things to work on first. You'll be hearing from me (as previous) New GHa Daylight VLog + Varicam 35 Lut New GHa Daylight VLog + Varicam 35 Lut

Yes, it is damn impressive. Plus, I already have a bunch of M43 lenses and a speedbooster.

Yeah, the ProRes is gorgeous. I started shooting ProRes when I had my Micro and I was astonished by how clean it was. But I did notice a slight difference with textures. I live on the edge of the woods, so trees are prevalent in a lot of my shots and the Raw footage definitely would pick up the texture of the bark a little better than the ProRes would, but moire isn’t as bad with ProRes, so that is what I mostly used... not to mention better storage. Plus I edit on FCPX, so it was great to just copy the files or bring them right into FC without any transcoding. I had the opportunity to buy another Micro right before Christmas for $450. The guy only used it once. I am kind of annoyed that I didn’t. I am very happy with my 5D3, but I wouldn’t mind some slow motion ProRes/Raw options for the toolbox, for various projects. I am not that great of a colorist, and the Micro was the first time I shot with a camera (other than my old Canon days) where I knew what it was like to get a cinematic image. I think I might be on the lookout for a used one and try to build a manageable rig for less than a grand... hopefully way less.

Thanks for posting Useful to have the link on it's own topic for the firmware, as the main X-H1 topic is 70 pages long

Yes you are right. As I said in an earlier post the highlights are actually blown/clipping but at a lower level than 255, even though the scopes appear fine. I believe that the method of lowering the color settings and increasing exposure is failed, BUT in reverse: take color settings to +1.99 and reduce exposure (-1, -1.30) then this proves to have benefits, which you can read from the other posts in this thread. I normally adjust colour as well to be different form standard as I found some colours were just over the top, so sure you can vary them slightly for the same benefit. But I have found that the colours improve when on full +1.99 and I find the colour variance is now not necessary. It may be April Fools day, but think of this as an Easter present, much better than an egg.

When I was shooting the pocket I found little difference between RAW and ProRes once the exposure and WB were correct. Thats what I really liked about it, the amazing quality of the compressed codec. Beautiful grain & color without any compression artifacts.

Sub $600? Already happened. https://www.ebay.com/itm/Blackmagic-Design-Cinema-Camera-Camcorder-Body-Only-with-EF-Mount-/152876830724

Maybe he is going away over Easter with his parents on a holiday to a remote part of the world?!

I’m thinking on RGB trick discovered: As far as i understand Samsung RGB logic (realised in PictureProfile tuning) - it is the middle point of a curve. Thus, when we rise all three together, we make picture brighter and less contrasty without touching exposure (ISO). I can report: i have very nice improvement with boosting BlackLevel up to +15 on top of new RGB boost, + Expose Compensation - 2. I can strongly recommend ALL NX1 users to experiment with RGB boost…

The ergonomics are one of the most enjoyable things about the X-H1... And the responsiveness. Much prefer it to X-T2. It is closer to an NX1 in handling terms. I am getting used to the drive selector by shooting stills in Film Simulation bracket mode, which is right next to movie mode on the lever. That stores the raw still, as well as 3 JPEGs with different looks. So in my view, a handy feature!

Loving the aesthetic here. XH-A1 was my dream camera back in the day - though I never got to actually use it before it had become obsolete. This is a feature film I shot with an HV30 back in 2009 with a bunch of my friends. It still remains one of my favourites - I pulled every trick in the book to make that camera look filmic on an absolute zero budget. Our dolly was a skateboard on a wooden plank that we dragged around the woods, but I still look upon the the film with extreme fondness.

I wouldn't be too down on 4K... Think about it like this - we like things like high DR, higher-bit-depths, higher resolutions, lack of over sharpening, etc. If you think about it, except for DR, all of those are related to compression. Bit-depth is colour value quantisation and resolution is about image detail quantisation (over sharpening creates artefacts similar to JPG compression and is related to the distortion of high-frequency image information) but all of these are related to throwing away information. Assuming the camera manufacturers allocate the bitrate in a sensible way, which they are pretty good at doing (ie, not 480p with 30-bit colour depth or 8K with 3-bit colour depth), then image quality will be roughly proportional to bitrate. If we look at a few random cameras, this plays out: My Canon 700D natively outputs <50Mbit 1080, but ML can do ~300Mbit. The Canon 5DIII natively outputs <50Mbit 1080, but ML is something like 500Mbit? (I'm not sure on this but it's a lot) My Canon XC10 records 1080p25 in 35Mbit, 1080p50 in 50Mbit (which is 25Mbps when conformed to 25p) and 305Mbit in 4k25 IIRC the GH5 records 1080 in 100Mbps and 4k60 in 400Mbps (166Mbps when conformed to 25p) The BMPCC records 1080 at 230Mbps in Prores and 569Mbit in RAW. When you look at IQ like this it makes sense about why the BMPCC and other models in the range still stack up. It also makes sense why people are drawn to 4K recording modes, and why despite lacking 4K TVs have looked fine for decades. I don't know what the signal-noise ratios of analog television was, but the combination of a good signal, high DR TV and a darkened room would have represented a high bitrate, as would film. With a few exceptions, 4K is the only way to get high bitrates out of the 'stars' of the DSLR revolution.

I think you're right about the A7III stuttering.

Just boost R G B colors to max (sounds creasy but it works) in custom1 picrure profile. Everything else left untouched. You will see it strait...

And why did this need its own topic?

Just stop. You're all arguing pointlessly about nothing, lets not let this forum dip to such lows. This thread should go in the bin.

You have a broad definition of the word, attack. By that logic, I suppose you DESTROYED us with this argument. Just to spell it out, no one was attacking you. Also, I think we're all adults, and if he was a con, which we all knew there was a chance of it, it would have just fizzled out like a bad joke.

Yeah you had to hesitate a bit by lowering the RPM just to up shift. You had to take pressure off the gears, and then just force it into a higher gear. No hesitation or it would grind like hell. I think the car weighed somewhere around 1200 pounds and had around 500 horsepower. I know some had even more HP than that back in the day. It was just pretty crazy. I have no clue how someone, and they did, drove one of those cars @ 100%. It was just every thing you did was a near death experience with it! too much throttle the tires spun anywhere anyplace, too much brake it was all over the place, miss a gear hell you just about had to stop and start over. It was a car you could make No mistakes if you were driving it hard, which hell neither of us could ever do. He was faster than I was in it, but he was a better driver on anything we raced. He had talent, not super talent, and I was just a average Joe Blow driver. I also was married with kids, and he was single with no kids when he had this race car LoL.. We both had about 100 near death experiences racing different stuff! And I can't exactly remember but he paid somewhere between 5000 to 7000 dollars for it. I seem to remember 5500 bucks. He owned so much stuff, he was worse than me, and that is saying something! Crazy. He was big on motorcycles. Not Harley's, we both hated them, British and Japanese 2 stroke, 4 stroke race bikes. We liked road race bikes. Car Probably worth a Million today. It ran great, and came with a ton of spares. Not much engine wise, but extra rims, tires, brake parts, extra nose, wings on and on. It had a 4 barrel carb on it, but the guy had the original Hilborn Injection, so that helped. Later in SCCA they made people put a 4 barrel on them to help slow them down. They were scary fast with the injection on them. So I put the Injection on it for him a little later after we Tried it in the Slow mode LoL.. Slow my ass. It probably ONLY made 400 HP then. I can tell you you were nervous before you drove it, when you were driving it, and after you got out for 15 minutes LoL. Seemed like your voice raised a whole octave when you got out!.It was a F ing experience. But it was addictive. You wanted more of it. We only drove it off and on for maybe 4 or 5 years. I drove it maybe 18 times, he drove it maybe 50 times. Both of us, maybe on the same day would spin it or run off the track in it at speed. We came to realize that we would probably die if we kept driving it. And a good friend of ours that had a car like it crashed Hard at the same track we raced at a lot. The Indy Speedway, the infield track. We did Mid Ohio a lot also. We got more scared it would be us. So he parked it in his garage for I guess 20 years or more, and when he got sick with Cancer he sold it. I have no clue to who or for how much. I never talked to him before he died, and I didn't Ever get along with his wife he married. I lived in Florida when all this happened. I was not even at his funeral. My Mother went to it, and she wrote me a letter about a week later and said, oh by the way, John died. Oh, OK LoL. Such is life.

I imagine it would be much easier to build an ND into a fixed-lens camera as you could locate the ND between the lens elements, or at least a lot closer to the rear element, as you don't have a mount and contacts to deal with. And don't the X100's have a leaf shutter? If so that's even more room to work with. If they do an ND I can only see it being fixed, as there definitely isn't room in the body (even the bigger third-gen) for a 36x24mm filter to swing over away from the sensor. And I definitely I don't see them going to a different body, or handicapping their low-light model with a fixed ND that's always eating up two stops of sensitivity. I also can't see Sony upstaging the FS5 in any serious way... compressed-to-hell 4K60, perhaps, but not 10-bit or NDs. That is, of course, unless their huge NAB booth this year is for announcing the FS5II. Then the A7sIII could follow at Photokina... But as others have said... can Sony even DO 4K60 in the A7 body without it combusting? They don't have a single other consumer camera of any type with an LSI that can do 4K60.

Why not wait a day? I think it is ballsy of him to email Andrew directly if he didn't have at least something to show. Unless he is a downright lier. It might be that he just needs a bit more time perfecting the settings. Who knows.

It depends on the size of the power bank but we are measuring in hours rather than minutes. I ran that test the other week with a 4000mAh one and got bored after two hours of powering one and it had run down one out of 4 bars on the indicator. They are literally credit card sized but a bit thicker so even carrying a spare isn't going to be a hardship. Something like this one will work as is and even has the acrylic case which you could store the power bank in (in the space where the raspberry pi would have gone) I think @Kisaha has just ordered this one or one near identical to it https://www.ebay.com/itm/3-5-HDMI-LCD-1920x1080-Touch-Screen-IPS-Display-Kit-for-Raspberry-Pi-1-2-3-EB/332253259667?epid=24003437661&hash=item4d5bd66793:g:CLQAAOSwH09ZNoG6 The ones I'm sourcing are designed for VR headsets so they're OLED and better native resolution but the price is a fair bit higher. I've got a 5.5 inch 2K 450Nit one just come in from China to evaluate from the same supplier so I'll see how that goes first. With regard to the remote control, this is a readily available one that covers most functionality. https://www.cinegearpro.co.uk/products/cgpro-bmmcc-bmmsc-focus-zoom-record-remote-controller There is scope to do something like that integrated in a handle for example with a display as well and even an Android remote interface to it. Basically, these things are all Arduino based boards that talk to the camera so there is no end of things you could attach to it in terms of thumbsticks and switches to have dedicated direct control of all the key functions. It all depends on what someone would want. That one for £99 is not bad though.

Yes I tried it on this footage but avisynth fixed aliasing much better. For noise it's king though.

Have you ever tried Neat Video? I have found it does help with anti-aliasing some. It is not it main goal, but it seems to make about anything look better. I admit it can make some stuff too good if you are looking for a filmic look! But you can adjust it to your liking. No plug in for Resolve though. https://www.neatvideo.com/home

But didn’t they said it is customised for a specific company not for consumer product? Plus the size of phantom 5 is too big to travel, mavic strike the perfect balance of travel and doesn’t look like toy compare to mavic air

Found this on vimeo. It's probably been posted before but this is really nice from the BMMCC.

Not that this is a democracy or anything but I think we should let this drama play out... it’s only a day. With that being said, now the kid won’t be available for 3 days to answer any questions... a little too convenient. And with that being said... I don’t think the kid is lying. I think he found something but it’s a fudge more than it is true Raw recording.

Andrew, I thought he meant he'd be offline for months when I first read this post. Then, I realized he is using european date/time so it's only 3 days. No biggie. I vote to allow him to continue.

Wtf dude you can't even wait a day? There is no opportunity cost or otherwise to you!

not if it remains 8-bit 420. FS5 now ships with raw upgrade too. anyways electronic ND imo would make the most sense on a lowlight monster like A7S series, especially considering the minimum 1600 ISO for S-Log.

And it’s ProRes. The Pocket and Micro are amazing cameras. And still 4-5 years later, there is not as cinematic of an image from any camera at this price point. Who cares about 10bit, when you can have 12?

Testing outside using the new profile, it's very overcast here at the moment, I found my self switching between negative 1.0 and 1.3, but compared to the same scene with Picture Wizard off there is more dynamic range. Also there is at least 1 stop more to be gained which could prove invaluable in failing light. I hope that you test this and share your results. I have not tried adjusting any other settings which I have left at standard. This may also work for the gamma DR profile as well, more tests are needed. I will be using this profile for the next few weeks just to see if it is reliable.

Do you know where I can set the gamut in camera on my F3? I could hire a colorist, because I don’t know how things work, or I cold try and understand how things work, and then make a sober decision. Not to say I didn’t reach ot to colorists. I did. Wanted to hire someone, but one of the candidates pointed out that my grade can actually look good, but on my screen exclusively. So he said that even if I hire him and he grades to taste, on my monitor and in my environment it will still look off, or different or even worse then what I currently have. So I’ve invested ina good monitor and decent calibration for now and am trying to understand the cam and it’s footage better.

OK, so I strongly believe that you can gain an extra whole stop in low light by using method 2. Profile settings: color R G B +1.99, contrast -5, Saturation -1, Sharpness -10 (the contrast, saturation & sharpness are to taste but I find the contrast at -5 produces flatter more realistic results). Once you set the profile you can achieve a similar exposure to standard by using negative -1 exposure compensation. Note how the ISO drops as a result of the negative exposure compensation yet when scenes from standard and this custom profile are compared there do not appear to be any disadvantages just lower noise! Obviously you will need to adjust exposure compensation for different scenes to protect the whites as much as you probably would in standard exposure but you will need around an extra stop of negative exposure using this profile.. Next to test externally.

Method 2 is producing some surprising results indoors. Just for fun turn the color in the profile to full 1.99 on all 3 colours. Now use a negative exposure comp to bring the scene to the same level as would be the standard exposure profile. The ISO for capture is much lower and the noise is much less using the custom method compared to standard exposure. Anyone else?

uh oh

No one said that this guy found the ultimate raw workflow or anything, we do not know him, we won't see him Monday for work/school/whatever, and most probably never. What most of us said, the ones we talked at least, and I believe it was a good size of the active NX community (at least in numbers), "IT IS JUST ONE WEEK, LET'S SEE WHAT IS GOING TO HAPPEN", that week passed in approximately 2 hours ago in the guys country. I still can not comprehend what was the fuzz about and why we had to waste 14 pages for that, I waste most time reading the "accusers" and replying to bring some calmness here, that Arikhan created to me. The guy actually cost-ed me time to read 2 responses, and nothing more, not even 20 seconds ( I am a fast reader anyway). I probably have the most interest here of anyone (except Luca that sells hardware for NX cameras) with 4 NX cameras, 8 lenses, 4 flash guns, and unlimited NX accessories, and l do not even care, I learned a lot about people here though, that was eye opening really, and people cost more than cameras, or less, it depends. This thread should be closed pages ago, it just brought confusion and negativity, and we had a lot of that recently on different threads. The guy is banned (I think), no one will ever going to hear from him again. Well done. What else?